The Fragility of Public Service: a Study of Richard II & Measure for Measure

Total Page:16

File Type:pdf, Size:1020Kb

The Fragility of Public Service: a Study of Richard II & Measure for Measure The Fragility of Public Service: A Study of Richard II & Measure for Measure J. Patrick Dobel Professor of Public Affairs Evans School of Public Affairs Box 353055 Seattle, Washington 98195 [email protected] 206-6161-1680 The Fragility of Public Service: A Study of Richard II & Measure for Measure Shakespeare’s plays provide abiding case studies and stories that track the realities of powerful actors wrestling to achieve power, ambition and goals. I believe that the plays provide insight into the day-to-day realities of living political life. This paper will use the insights from several plays and sonnets to examine the power and limits of the ideal of public service that modern public life relies upon. I will examine the moral construction of the ideal of public service and its assumptions about human beings and the institutions. The paper will explore attributes of human beings that Shakespeare highlights in his plays and sonnets. These attributes challenge humans and institutions that try to sustain through the ideal of public service. The primary sources will be The Tragedy of Richard II and Measure for Measure. Both plays identify serious themes that pervade Shakespeare’s corpus and both are among his most taxonomic plays where characters incarnate issues and positions.i The Sonnets isolate with pellucid acumen the range of emotions and ambitions that suffuse human life. The paper will draw upon the Sonnets to help map this range of emotions that the plays illustrate in active unfolding. This paper examines how a sustainable ideal of public service depends upon the dynamics of human beings. I will assume that human nature does have substantive referents (Pinker, 2002, 2007; Damascio, 1997). I will also assume that not only science but also texts and stories can illuminate the constancy of certain attributes of human nature. In particular literature has the capacity to engrave knowledge by uniting the cognitive and emotional dimensions of comprehension (Pinker, 2007). Story telling has the ability to claim attention, engrave knowledge with cognitive and emotional power and provide a forum to expand reflection and possibilities of understanding (Boyd, 2009; Dissanayake, 1988).ii Engaging stories engage human minds at multiple levels and permit persons to learn new details and insights about life and themselves and transform their understandings of the world and possibility. Stories also augment people’s theories of mind that enable them to understand other people and actions. In a sense modern political science with agency theory possess its own model of human nature that explains more than a few pathologies of public service aspirations and institutions. I want to suggest that the model itself is far too limited, underestimates the capacity of culture and humans to sustain institutional commitments even against the postulated imperatives of self-interest (March 1989, Parsons 2005) I explore Shakespeare’s observations about the qualities of persons involved in politics and the tensions that arise between Shakespeare’s models of action and the demands that public service places upon individuals. This examination looks at the attributes of humanity that Shakespeare identifies as challenging a public service ethics. The study examines the dynamics of power and institutions that dominate politics and complicate dedication to a public service ideal. Shakespeare identifies a range of temptations and distortions of the moral ideal of public service that human nature introduces. Finally I discuss several implications of Shakespeare’s insights for the ideal of public service. I. The Ideal of Public Service The modern ideal of public service builds on two premises: first, a conception of the public and what the public is owed; second, a notion of service to focus dedication. A person enters service to a person, entity or ideal, and the service disciplines their judgment and action on behalf of those they serve. The emergence of the idea of a public merged with the tradition of the public good in the 17th century with the emergence of an engaged citizenry. This public service ideal drew on an older and deeper tradition of the common good which embodied moral aspirations, official obligations and legitimizing principles that stipulated that good rulers should act in the interests of all persons, citizens or orders of the society. As mobilized publics grew self conscious through battle and education, they demanded government recognize and embody this ideal. The moral and political ideal of public service insists that individuals put aside their local or individual identifications and interests to act on behalf of all who qualified as members of the regime. It wed the notion of service with the obligation to act with disinterest. The ideal required an internal culture of what Max Weber would call a “vocation” where people entrusted with power over others guaranteed by promise to exercise their authority to benefit all members of the public (Weber, 1947). The key lay in the persons’ moral capacity to put aside their local identifications, self-interests, prejudices and preferences in order to “serve” members of society. This provided surety that individuals internalized a moral character to perform these. Governments inculcated cultures and created accountability structures to ensure that the individuals performed well. Sustained service depends upon individuals who demonstrate consistent character and judgment over time. The virtues needed by public servants transposed those associated with good kingship or rule such as those adumbrated by Malcolm in Macbeth, “justice, Verity, Temp’rance, stableness…Perseverance, Mercy…Patience, Courage, Fortitude” (4.3.11-14). The need for these virtues has not diminished, and modern public service ideals continue to adumbrate requirements of virtue (Cooper, 1990; Frederickson, 2005). The modern society depends upon public service to accomplish a huge range of vital services with competence, reliability, frugality and fairness. These people enable functions as simple as filing and as complex as war fighting to be done day in and day out in face of the friction of normal life (Frederickson, 2005; Cox, 2009; Thompson, 1987; Cooper, 1990). The ideal of public service demands much of human beings. It requires public servants to exercise immense self-control; to make promises and live up to them; to truthfully be accountable; to master the competences and skills of their task; to exercise self-constraint and not use their office for personal or familial gain; to spend the money entrusted with them frugally; to restrain irrationality in judgment; to frame their judgments and act in light of the standards of their position. In most cases these standards would be embodied in laws, rules and regulations. Public service also depends upon institutions imbued with cultural norms, rituals, symbols that reinforce and support the values and judgment public servants deploy (March, 1987; Schein, 2004; Wilson, 1989). The ideal relies upon institutions, culture and accountability to sustain it. Shakespeare poses the question can the ideal be sustained over time. II. The Challenges of Human Nature Shakespeare’s account of human nature poses serious challenges to the ideals of public service. The ideal, itself, is now so pervasive across modern regimes that the definition of corruption highlights its lack. The standard definitions of corruptions highlight how state officials use power to extort resources in exchange for service or use of state office to augment personal or clan coffers. The corruption can extend deeper where it distorts the capacity for loyalty to principles and institutions beyond one’s own interests and desire. A. Passions and Reason Shakespeare begins innocuously enough. His Sonnets call attention to the imperious role of passion in human life. Love, the archetype of human emotion, stands as a motivator that quickly grows into madness “in pursuit and possession.” Emotions simply overwhelm limited human reason for “reason is past care” (129; 147). Emotions unleash “perjured, murderous, bloody, full of blame,” and this is only love! Passions ground and inform valuations and provide strong spurs to action. Shakespeare’s ruthless Ulysses justifies himself because passion drives humans as a “universal wolf” where “power into will and will into appetite.” Without order life becomes “universal prey” (Troilus & Cressida 1.3.120-24). The passions dominate against the vain pretensions of the mind, as Portia points out in the Merchant of Venice, “The brain may devise laws for the blood, but a hot temper leaps o’er a cold decree (1.2.17-18). These passions lie within all humans as the Duke in Measure for Measure remarks, “O, what man may within him hide, though angel on the outward side (3.2.264-5). Power exacerbates passion’s dominance of the mind. The Duke wonders about the impact of his delegation of power to the meticulous Angelo, “Hence we shall if power change purpose what our seemers be”(1.3.53-4). In rebuffing Angelo’s later abuse of power Isabella points out how few understand their own passions. In Angelo’s case “Man, proud man, dress’d in a little brief authority, most ignorant of what he’s most assur’d” (2.2.118-120). Any emotion can mutate into madness. Madness in its Renaissance sense overwhelms the mind and reason. Passions dominate humans, and reason becomes subservient to passion’s ends. This means human reason seldom stands against the insistent desire of passion and often becomes a mere tool to the passionate desire for status, achievement, and glory. Passion spawns “fears to hopes and hopes to fears” and dominates human motivation as a “madding fever.” (Sonnet, 19) Politics is shot through with powerful passions. The stakes are high for everyone, and emotions ground their evaluation of the stakes. In Shakespeare’s world several passions govern political life: ambition, glory, honor, fear. His world vibrates with strong passionate actors obsessed with seizing power and advantage.
Recommended publications
  • Richard II First Folio
    FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students.
    [Show full text]
  • For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
    The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Henry V Plays Richard II
    Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab­ sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king.
    [Show full text]
  • Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2018 “Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College Recommended Citation Singh, Bandana, "“Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad" (2018). Scripps Senior Theses. 1140. http://scholarship.claremont.edu/scripps_theses/1140 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “YOUR UNTHOUGHT OF HARRY”: POLITICAL LEGITIMACY AND THE ECONOMY OF HONOR IN SHAKESPEARE’S HENRIAD by BANDANA SINGH SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR PRAKAS PROFESSOR KOENIGS 6 DECEMBER, 2017 !1 Shakespeare’s Henriad delves into questions of divine authority, political legitimacy, and kingly identity.1 While it is unknown whether Shakespeare meant for the plays to be understood as a tetralogy, each play sets up the political climate for the subsequent one. However, the Henriad also tracks a pivotal transition in the understanding and composition of kingship. Richard II paints the portrait of a king infatuated with his own divinity. Richard’s incompetency as a ruler is highlighted by two major offenses: killing his uncle Gloucester, and disinheriting his cousin, Henry Bolingbroke, who eventually leads a rebellion against the corrupted king. Richard’s journey from anointed king to deposed mortal captures the dissolution of his fantasy of invincibility and highlights two conflicting viewpoints on the office of kingship in relation to political theology.
    [Show full text]
  • 1 Two Richard II Films, Directed by Rupert Goold (2012) and Gregory
    Two Richard II films, directed by Rupert Goold (2012) and Gregory Doran (2013) Arlynda Boyer University of Toronto [email protected] Richard II, episode 1 of the BBC mini-series The Hollow Crown. Directed by Rupert Goold. With Ben Whishaw (Richard II), Patrick Stewart (John of Gaunt), Rory Kinnear (Henry Bolingbroke), David Suchet (Duke of York), Tom Hughes (Duke of Aumerle), James Purefoy (Thomas Mowbray), David Morrissey (Earl of Northumberland). Richard II. Based on a production by the Royal Shakespeare Company. Directed by Gregory Doran. With David Tennant (Richard II), Michael Pennington (John of Gaunt), Nigel Lindsay (Henry Bolingbroke), Oliver Ford Davies (Duke of York), Oliver Rix (Duke of Aumerle), Jane Lapotaire (Duchess of Gloucester), Antony Byrne (Thomas Mowbray), Sean Chapman (Earl of Northumberland). Gregory Doran, director of the Royal Shakespeare Company’s 2013 film of Richard II starring David Tennant, has noted that between the Stratford and London runs of the original stage production and the multiple worldwide cinema showings, his production has a plausible claim to being the single most-watched Shakespeare production in history.1 Producers of Rupert Goold’s Richard II starring Ben Whishaw, screened as part of the Hollow Crown mini-series shown on the BBC and PBS, might challenge that claim. Both are now available on DVD and both will likely find their way into classrooms. Since the films were directed with almost diametrically opposed visions, teachers may want to use clips from both by way of contrast when discussing interpretations of the play with students. It is thus worth considering the strengths and weaknesses of each.
    [Show full text]
  • Performing Kingship in Richard II
    University of Pennsylvania ScholarlyCommons Undergraduate Humanities Forum 2010-2011: Penn Humanities Forum Undergraduate Virtuality Research Fellows 4-2011 "Thus play I in one person many people:" Performing Kingship in Richard II Rachel Cohen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/uhf_2011 Cohen, Rachel, ""Thus play I in one person many people:" Performing Kingship in Richard II" (2011). Undergraduate Humanities Forum 2010-2011: Virtuality. 1. https://repository.upenn.edu/uhf_2011/1 Suggested Citation: Cohen, R. (2011). "'Thus play I in one person many people:' Performing Kingship in Richard II." 2010-2011 Penn Humanities Forum on Virtuality. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/uhf_2011/1 For more information, please contact [email protected]. "Thus play I in one person many people:" Performing Kingship in Richard II Comments Suggested Citation: Cohen, R. (2011). "'Thus play I in one person many people:' Performing Kingship in Richard II." 2010-2011 Penn Humanities Forum on Virtuality. This other is available at ScholarlyCommons: https://repository.upenn.edu/uhf_2011/1 "Thus play I in one person many people:" Performing Kingship in Richard II Rachel Cohen 2010–2011 Penn Humanities Forum Undergraduate Mellon Research Fellowship Cohen 1 “Textual histories are nevertheless histories, and revision, elisions, suppressions, accretions are essential elements of drama by its very nature…” --Stephen Orgel, Impersonations (54) Radically different versions of Shakespeare’s plays have always existed due to the various purposes the texts have served: to stage a performance, to capture a performance retrospectively, or to create a posthumous literary canon. However, for three hundred years, scholars cleaned up and conflated variant editions of Shakespeare’s plays to create composite texts meant to approximate a hypothetical original manuscript.
    [Show full text]
  • Shakespeare's Henriad As Political Philosophy by Leon Harold Craig
    Digital Commons @ Assumption University Political Science Department Faculty Works Political Science Department 2017 Review of The Philosopher's English King: Shakespeare's Henriad as Political Philosophy by Leon Harold Craig Bernard J. Dobski Assumption College, [email protected] Follow this and additional works at: https://digitalcommons.assumption.edu/political-science-faculty Part of the Philosophy Commons, and the Political Science Commons Recommended Citation Dobski, Bernard J. "Rev. of The Philosopher's English King: Shakespeare's Henriad as Political Philosophy by Leon Harold Craig." Interpretation: A Journal of Political Philosophy vol. 43 no. 2 (Winter 2017): pp. 341-345. This Book Review is brought to you for free and open access by the Political Science Department at Digital Commons @ Assumption University. It has been accepted for inclusion in Political Science Department Faculty Works by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. Book Review: The Philosopher’s English King 341 Leon Harold Craig, The Philosopher’s English King: Shakespeare’s Henriad as Political Philosophy. Rochester: Boydell & Brewer, 2015, 296 pp., $95.00 (hardcover). Bernard J. Dobski Assumption College [email protected] Harold Bloom famously declared that Shakespeare “invented” us. Such a claim is hardly hyperbolic: Shakespeare’s plays are perennially performed in parks and theaters across the Western world, and his poetry continues to inform the television, cinema, and literature that shape our culture. It is thus no surprise that scholars and academics find in Shakespeare’s creative legacy a treasure worth plundering, publishing nearly one hundred books per year on the Bard.
    [Show full text]
  • Shakespeare's Bolingbroke: Rhetoric and Stylistics from Richard II to Henry IV, Part 2
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2004 Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2 DeAnna Faye Jenson Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Literature in English, British Isles Commons, and the Rhetoric Commons Recommended Citation Jenson, DeAnna Faye, "Shakespeare's Bolingbroke: Rhetoric and stylistics from Richard II to Henry IV, part 2" (2004). Theses Digitization Project. 2536. https://scholarworks.lib.csusb.edu/etd-project/2536 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements to the Degree Master of Arts in English Composition by DeAnna Faye Jensen March 2004 SHAKESPEARE'S BOLINGBROKE: RHETORIC AND STYLISTICS FROM RICHARD II TO HENRY IV, PART 2 A Thesis Presented to the Faculty of California State University, San Bernardino by DeAnna Faye Jensen March 2004 Approved by: Bruce Golden, Chair, English Date on ABSTRACT Joseph A. Porter acknowledges in The Drama of Speech Acts: Shakespeare's Lancastrian Tetralogy that little is written on Henry Bolingbroke. Although scholarship has begun to change since Porter made this observation in 1979, Bolingbroke still remains ancillary to the more colorful characters in Richard.
    [Show full text]
  • Linguaculture 1, 2014
    LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director.
    [Show full text]
  • What Every Elizabethan Knew
    Shakespeare's Histories What the Elizabethans Believed About History "In order to write his plays about English history Shakespeare turned to contemporary history books, called chronicles, particularly those by Edward Hall and Raphael Holinshed. Recounting the past sequentially, these books discussed politics, weather, local events, disasters, and marvelous occurrences like the birth of a baby with two heads. The chronicle accounts of kings, queens, rebellions, battles, wars, councils, and the like entertained as well as informed; they provided a long-running series on the lives of the rich and famous, who happened also to be the royal, the powerful, the good, and the evil. The millions of people today who eagerly read historical novels, watch BBC specials or films like Oliver Stone's JFK, or devour materials on Princess Diana's life and death, would have turned to chronicles in Shakespeare's day. They substituted for our histories, docu-dramas, journals, films, and in some cases, even our soap operas. Chronicles offered the excitements of historical research as well as those of popular non-fiction and fiction. Confronting so rich a record of human achievement and folly, chroniclers often read in English history political and moral truths. Everywhere they saw, or at least said they saw, the evils of dissension and rebellion, for example, or the inevitable workings of divine justice. Shakespeare inherited these thematic focuses as he shaped chronicle materials, often loose, formless, into sharp conflicts between compelling individuals; sometimes he darkened them into tragedy, as in Richard II; sometimes he brightened them into comedy, as in Henry V.
    [Show full text]
  • The Tragedy of King Richard II
    The Tragedy of King Richard II Not a good king, according to historical accounts, Richard II and his failings were popularized by William Shakespeare in The Tragedy of King Richard II. In this clip, we see John Gielgud, in the role of John of Gaunt (the Duke of Lancaster), bemoaning the weaknesses of the country (under Richard II) and berating the King (for his bad judgment). It is Gaunt's last speech, before he dies. Move the video forward, to 2:07, for the scene with these famous words: This royal throne of kings, this scepter'd isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea ... That England that was wont to conquer others Hath made a shameful conquest of itself. From Shakespeare's Richard II, Act 2, scene 1. For a bit of historical background ... John Gaunt (so-called because he was born in Ghent which, in English, was then known as "Gaunt") was the younger brother of Edward, the Prince of Wales (also known as "The Black Prince"). Ancestor to many of Britain's Kings and Queens - including the present Queen - John Gaunt was one of the wealthiest men in Britain during his lifetime (1340-1399). Historians also believe he was one of the wealthiest men who ever lived. The following brief summary of the entire work will provide some background for the meaning of Gaunt's words as he chastises his nephew, the young king.
    [Show full text]